OutToPlayJazz

Yes, the 1-2-4 fingering across a whole tone will ease this, I think. Sounds as if you're just overstretching & the hand/tendons are complaining (more than a little!) As Oscar South said in his response, the bass was never made to be played one finger per fret down there & it's best to start employing the third finger only after the 7th fret. Best of luck with this - Let us know how you go on, Huw.

[quote]Try looking at using 1-2-4 technique up to around the 5th or 7th fret, one finger per fret all over the neck is imo an unsuitable technique for bass thats been inherited from guitar playing whereas electric bassists would be better drawing from double bass technique. When I changed to 1-2-4 I could play longer, cleaner, faster, better etc. etc.[/quote] I applaud you, Sir! Also, try making sure the left hand thumb is upright, behind the middle finger & not hooked over the top of the neck. There should always be plenty of clearance between the palm of your hand & the neck. BTW, the G Major Prelude is nothing like Victor Wooten's classical thump. If you'd like the official sheet music for the thump, I'll get it copied and mailed to you Further to the subject of the cello suites, there's an edition transposed for double bass. It's all in different keys and much more manageable.

Firstly, Zing+Growl=Status! Rob Green was telling me that as you raise the strings away from the pickups, the frequency loss is much bigger than you think. Were you setting up your Sadowsky, Chris?

I was thinking on going on one of Victor Wooten's camps for a bit of sideways thinking about playing. I'm a pro (classically trained), but I still don't believe I know everything What kind of music do you really want to play, ARGH?

For the big jobs it has to be my Status S2 Classic through my MarkBass rig. No effects, just awsome

Lots of people want a simplistic plodder and are quite often frightened that a good bass player will steal their thunder. Sounds like you're way too good for the people you're auditioning for, if you're asking me. Real musicians would give bodily organs for a good reading technical bass player.

Yes, Anthony Wellington's bass is a Fodera single cut 5 string. Really nice looking thing & probably about £4000 worth as well! As for the amorous couple, yes I saw them. You were about 10 feet from us. We (my pupil James & I) got some video footage which I should have by the end of the week. I took some but lost it as my N95's battery went flat and the phone rebooted so I've only got about 42 seconds of "The Lesson." More later on in the week

Hi Buff and again, welcome to the forum

I had an East U-retro in my older Status S2. It could create a huge palette of sounds, but I eventually had it taken out and the original Status pre reinstalled, as I wanted the original sound. If the East MM board does as people say it does, it'll be fantastic. Also have a look at a Sadowsky pre (either onboard or outboard in pedal form.) I've got the outboard & it's a stunning piece of equipment. I use it with my Marcus Miller Jazz & 08 Am.Std. Precision.

I'd say the SR series is a great bass to start on. Good build, good sound & nice to play as well. As for the amp, if you're just looking for a practice amp, the Bass Cube 30 is ample. I've used one for large theatres, but in a band situatiuon, you'd be better of with a Cube 100 or an Ashdown Electric Blue 180/15. I have the BassCube 100 for smaller gigs & it's a great amp.

Looking at the title, I thought there were going to be six of them for a minute! I still want to prise that Spitfire from your dead fingers, Andy! Rich.

Both of mine (08 Am.Standard Precision & Japanese Marcus Miller jazz) look as if the frets were added after the lacquer was done.

That's absolutely gorgeous, BRX! I always remember Alan Lancaster playing a lovely looking Kramer in a dark wood towards the end of his days in Status Quo.

Content-wise they did mainly the stuff from the new album, Palmystery, but the gig was none the worse for that. Victor deals with hecklers extremely well, too. There was one guy who started singing near the front, so Vic made it part of the show and sang along with him! Interestingly, the back up bass player is an amazing player. He did a couple of fine Marcus-esque solos. Victor's looped solo where he adds notes (not necessarily in the right order) to a sliding scale is very comical to see live.

Hi Cetera, thanks for showing us your amazing collection! If you're feeling generous, could you package up the Zebrano Euro LX & send it to... Rich.

I don't kmnow if any of you were there, but the jazz cafe was packed to the seams! Excellent support trio from Canada & Victor & co were on top form, playing for almost two and a half hours. My pupil James got some great pics (more pics to come later when I get copies) during and after the gig where we got to meet the man himself, but here's a little taster... Oh and if you look at the bottom pic, I got my S2's control plate signed. Pity it's on the inside, but at least it won't rub off

Hey Chris, that is truly gorgeous! Grow your hair long & you'll be Tal Wilkenfeld!

[quote]How does the MM sound on its own?[/quote] Fine, just a little down on output & a bit on the harsh side. With the Sadowsky, it's totally different. At least double the output & a much warmer & fuller sound. Don't forget that to other people's ears the Miller is probably lovely - I'm comparing everything to my Status basses!

[quote]Nice one OTPJ! Sounds and plays great I bet [/quote] Especially through the Sadowsky preamp/di pedal

I'd imagine the Miller is an 07. Difficult to tell with the Japanese S prefix serial numbers. The Precision is definitely a Z8 model, though

I've never had a Precision before, so this is a real departure for me! Quality is lovely on mine, but I was lucky that Dave at Electro had ordered two. The first had terrible half finished lacquer on the back & a barely finished neck. This one is much better! Another interesting thing - The bass I rejected also weighed significantly more than mine. The '08s are generally quite lightweight feeling, but the other one was definitely much much heavier! The new 3-tone sunburst is a lot nicer than the old yellowy-brown affair, with more red than brown. The new bridge seems a lot sturdier & the glossed fingerboard adds a touch of class to the whole bass. Pity the back of the neck isn't glossed as well like on my Marcus Miller Jazz. That one feels truly special! Soundwise, the Precision is traditional P with a touch of something a little more modern. Could be the strings I've put on, but it has all the classic thump with a slightly more modern 'twang to it! I've been experimenting with my Sadowsky preamp/di pedal on these two & the results are astounding!

Know what you mean! I'm in a slightly different situation, in that I've been stuck on Status basses for nearly 20 years, but I do like to try other things as well. Best so far have been my Yamaha TRB-6 II (definitely a keeper until I can afford an Overwater 6-string), Corvette $$ & the Candy Cola USA S1 Jazz I had earlier on in the year. Quite excited about my forthcoming American Standard Precision, as I've never had a Precision before! Oh, and have a great holiday, Alan!

PM me your postal address & I'll mail you some used strings. I have packets of them!

Anyway, all this tomfoolery apart, the track... They seem to have found a bontempi organ buried in a second hand shop! Verdict on the song... Truly awful!

Same as in the long dark distant past, my Status S2-Classic. I never really take my KingBass out, so the S2 caters for most rock jobs. Just the best to play & such an amazing sound! For jazz it's either my Triumph upright, one of my Double Basses, or my now indispensable Yamaha TRB-6. The S2-Classic & TRB would be the two I'd keep should a cash-strapped situation arise!